Alpine Volksmusik Manual

Total Page:16

File Type:pdf, Size:1020Kb

Alpine Volksmusik Manual Alpine Volksmusik Manual Welcome to Alpine Volksmusik, the first virtual Volksmusik Kapelle! Alpine Volksmusik offers 24 single instruments, from accordion to the „Zillertaler“ violin. This collection offers everything you need to compose music in the authentic Alpine and Upper Carniola style. Only the best artists from this genre have been recorded for this instruments: Bass Trombone: Sebastian Fuchsberger Baritone Horn: Sepp Mattlschweiger Trumpet: Ivan Prešern Tuba: Jon Sass Clarinet: Prof. Vito Muženic Guitars: Renato Verlic, Sabrina Klotz Voice: Freddy Pfister Alpine Volksmusik - Manual 2 Instruments Solo Trumpet & Trumpet ensemble - Ivan Prešern Ivan Presern, longtime member of the Alpenoberkrainer group from Slovenia, is well-known to all Oberkrainer music fans. His virtuosity (“Ivan spielt auf”) and his ingenious compositions have big influence on the Alpski Sound. The trumpet is also available as a ensemble. Special features: Legato (on / off): Play realistic legato Keyswitches: C1: Long D1: Marcato E1: Staccato Clarient - Prof. Vito Muzenic Prof. Vito Muzenic from Slovenia, played the clarinet for our recordings. His unique and emotional style are a main ingredient for the original Oberkariner Sound. If you ever get the chance to hear him play live, don’t miss out! Special features: Legato (on / off): Play realistic legato Keyswitches: C1: Long D1: Soft Long Alpine Volksmusik - Manual 3 Baritone Horn - Sepp Mattlschweiger Sepp Mattlschweiger is the number 1 baritonist in Austria. Even when playing the “Big C” his baritone horn has the same power as in the higher ranges. Sepp and his group, Juchee, are also great live performers! Special features: Low EQ: More bass, especially for Baritone Legato (on / off): Play realistic legato Keyswitches: C1: Marcato D1: Staccato Bass Trombone - Sebastian Fuchsberger The Bass Trombone, was played by Sebastian Fuchsberger, a great musician and founding member of the Austrian band Global Kryner. Special features: Low EQ: More bass, especially for Baritone Legato (on / off): Play realistic legato Keyswitches: C1: Staccato D1: Soft Staccato E1: Marcato F1: Long Alpine Volksmusik - Manual 4 Guitar Picking - Renato Verlic Another key piece for the perfect alpine folk music: The Oberkrainer guitar played by Renato Verlič. The strings were also recorded individually. Use this version for intros and solos. Special features: Pedal FX: Guitar effects, also via modwheel Legato (on / off): Play realistic legato Keyswitches: C1: Picking long D1: Alternative single strum Guitar Chords - Renato Verlic Authentic Oberkrainer chord strumming, played by Renato Verlic. You can choose from 5 different chord-types. Special features: Pedal FX: Guitar effects, also via modwheel Legato (on / off): Play realistic legato Keyswitches: C1: Major chords D1: Minor chords E1: 7th chords F1: Dim chords G1: Open Alpine Volksmusik - Manual 5 Nylon Guitar Bass - Sabrina Klotz Nylon guitar, played by Sabrina Klotz. Use this instrument for bass lines in combination with the patch Nylon Guitar chords! Special feature: Note OFF: Adjust the volume of realistic string noises Legato (on / off): Play realistic legato Keyswitches: C1: Picking long D1: Picking short Nylon Guitar Chords - Sabrina Klotz Authentic chords for Bavarian style music, played by Sabrina Klotz. 4 different chord types to choose from! Special features: Note OFF: Adjust the volume of realistic string noises Legato (on / off): Play realistic legato Keyswitches: C1: Major chords D1: Minor chords E1: 7th chords F1: Dim chords Alpine Volksmusik - Manual 6 Tuba – Jon Sass The internationally renowned tuba soloist Jon Sass is the master of this special Jazz Tuba sound. Special features: Low EQ: Ajust the low frequencies Legato (on / off): Play realistic legato Keyswitches: C1: Staccato D1: Marcato long Accordions The perfect accordion sound for Oberkrainer-folk music. Special features: Att. Noise / Rel. Noise / Note off: Change the volume of the key sounds and the release samples for increased realism. Bass/ Chord: Adjust the volume (last two octaves) Register buttons: Piccolo – 4‘ Musette – 8‘+8‘+8‘ Violin – 8‘+8‘ Basson – 16‘ Alpine Volksmusik - Manual 7 Alpenschellen (Alpin Bells) Tuned cowbells, also known as Almglocken and referred to as Alpine bells, evoking the folk music of the northern Alps. Special features: Delay FX: Matching stereo delay effect Legato (on / off): Play legato Drums (All) Cox Patrick’s private selection of authentic drum sounds & claps. Special features: All sounds are divided into 4 groups, with separate volume controlled Basedrums (BD Vol.) Snaredrums & Claps (SD / C Vol.) Toms ( TT Vol.) Cymbals (CYM Vol.) Alpine Volksmusik - Manual 8 Drumkit Cox Patrick’s private drum sounds as a drumkit Special features: All sounds are divided into 4 groups, with separate volume controlled Basedrum (BD Vol.) Snaredrum (SD Vol.) Toms ( TT Vol.) Cymbals (CYM Vol.) Dulcimer A three-string, dulcimer from Kitzbühel. Special features: Release Mute: If the sustain pedal is pressed, the dulcimer can be played muted. Alternatively, you can use the Release knob to a shorter values. Filter Cutoff: A lowpass filter Alpine Volksmusik - Manual 9 Zillertaler Geige (Fiddle) Special violin sound, recorded in the Zillertal style. Special features: Note off: Change the intensity of the note off samples. Noise: Adjusts the volume of the bow noise. Legato (on / off): Play realistic legato Keyswitch: C1: Long D1: Marcato Steirische A – D (diatonic button accordion) Four three rowed diatonic button accordions from Slovenia. MUNDA instruments are very popular because of their excellent quality and perfect sound. Special features: Note off: Adjusts the intensity of the note off samples Bass/ Chord: Adjusting the volume (lower two octaves) Alpine Volksmusik - Manual 10 Synthbass (CS01 & DX100) Synth bass, known from Zillertal music. The synth bass can be combined with brass instruments such as baritone horn or bass trombone, to create a "thicker" sound! Special features: Filter Cutoff: Lowpass Filter. Walzer Bass Classic electric bass With long release time and activated legato, you can play the waltz bass in style. Special features: Low EQ: Boosts the low frequencies Legato (on / off) – play realistic legato Alpine Volksmusik - Manual 11 Voice FX Freddy Pfister’s voice offers original sound bites in Zillertaler dialect, incl. Yodelling! The Freddy Pfister Band – one of the most popular Zillertaler bands in the German-speaking region – is definitely one you should see live. Special features: Delay FX: Sync Delay Effekt Filter Cutoff: Lowpass Filter Interface The interface of the Alpine Volksmusic Library provides an easy way to customize the sound of the instruments. In addition to the standard controls volume, pan, and reverb, each instrument / patch has its own parameters, incl. some special features (see above). 1. Controls: Here you can change the parameters to your liking 2. Info: The Info icon at the bottom left (if provided) changes the instruments window to the info pane. Besides some information about the instrument, you will also find all special features and keyswitches here. 3. Instrument window: Displays the instrument or musician. In info mode, it shows the info details of the patch. Alpine Volksmusik - Manual 12 .
Recommended publications
  • 100 ALBEN FÜR DIE Rock-SAMMLUNG Längst Kennen Auch Pop Und Rock Ihre Klassiker
    AUS DER RILLE OHNE VERFALLSDATUM – 100 ALBEN FÜR DIE ROCK-SAMMLUNG Längst kennen auch Pop und Rock ihre Klassiker. Der Autor wagt mal eine höchst subjektive Auswahl an Alben, die ihren 50. Geburtstag kurz hinter oder knapp vor sich haben. Und die heute noch so faszinieren wie vor einem halben Jahrhundert. VON LOTHAR BRANDT (FREIBERUFLICHER JOURNALIST – WWW.LOTHARBRANDT.DE) Es war einmal ein Versuch. Der Versuch, aus dem Zweitens quantitativ: Wir belassen es bei rund 100 grossen, dem klassischen, dem unwiederbringlichen, Alben; und bei maximal drei pro Künstler oder Band, dem unwiederholbaren, dem unerreichten Jahrzehnt so weh es auch tut. der Pop- und Rockmusik 1966 – 1975 ein Auswahl zu treffen. Bei Nummer 200 zog der Verfasser die Drittens stilistisch: So weh auch das tun mag, aber Reissleine, strich schmerzhaft viel durch und be- der Jazz, der Schlager, die Volksmusik (nicht nur die schloss die rigorose Beschränkung. Schweizer) und auch die Avantgarde bleiben aussen vor. Jedenfalls in ihrer Reinform. Es wird sich zeigen, EINSCHRÄNKUNGEN dass sich viele Rock-Klassiker auch gerne in Randbe- Erstens zeitlich: Aus dem Jahrzehnt wurde das Jahr- reichen bedienten. fünft 1967 – 1972. Bevor jetzt einige Schlaumeier mit mathematischen Grundkenntnissen detektieren, Und viertens formattechnisch: Es geht um reguläre dass die Spanne sechs Jahre umfasst, sei darauf Alben. Best-of-Zusammenstellungen, Zusammestell- hingewiesen, dass es ja nicht um den kompletten ungen verschiedener Künstler (Various Artists Samp- Zeitraum vom 1. Januar 67 bis 31. Dezember 72 geht, ler) und auch Raubpressungen (Bootlegs) sind nicht und dass man zu jener Zeit ohnehin alles nicht so berücksichtigt. Deshalb stehen auch die fünf LPs (I: eng gesehen hat.
    [Show full text]
  • Michael Brocken, the British Folk Revival 1944-2002. / Britta Sweers
    FZMw Jg. 7 (2004) S. 105–112 Michael Brocken, The British Folk Revival 1944-2002. Ashgate Popular and Folk Music Series Aldershot: Ashgate, 2003, ISBN: 0-7546-3282-2 Rezension von Britta Sweers –1– Die traditionelle Musik Großbritanniens und Irlands erlebte nach dem Zweiten Welt- krieg ein Revival, das seit den späten 1960er Jahren auch einen starken Einfluss auf Deutschland ausgeübt hat. Speziell die englische Revival-Szene hat dabei eine wichtige Vorreiter-Rolle sogar in ganz Westeuropa gespielt. Dennoch ist die englische "Folk- musik" (der Begriff steht im Deutschen synonym für die Musik des sogenannten Second English Revivals der 1950er/60er Jahre) außerhalb der Britischen Inseln weit weniger bekannt als die schottischen und irischen Richtungen. Dies spiegelt sich auch in der Literatur wider – es gibt (selbst in Großbritannien) nur wenige neuere Studien sowohl zu englischen Musiktraditionen als auch zu den Revivalbewegungen oder gar zum Folk Rock. Michael Brocken, Senior Lecturer für Creative and Performing Arts in Liverpool und Radio-Moderator, stößt daher mit seinem Buch The British Folk Revival 1944-2002 durchaus in eine empfindliche Lücke. –2– Die verschiedenen Kapitel der Studie geben einen guten Einblick in die Geschichte dieser Musikrichtung. Da die Entwicklungen der Nachkriegszeit ohne Kenntnis der Ideologien des sogenannten First Folk Revivals (ca. 1880-1920er Jahre) nur schwer nachvollziehbar sind, steht am Beginn des Buches zunächst eine kritische Auseinander- setzung mit den frühen Sammlern um Cecil Sharp (1859-1924) und Ralph Vaughan Williams (1872-1958). So wurde in dieser Phase erstens das Lied- und Balladenmaterial zusammengetragen, welches die Grundlage für das spätere Revival bilden sollte, und zweitens die zentrale Institution – die English Folk Dance and Song Society ( EFDSS ) – gegründet, welche nach wie vor als (aufgrund ihrer eher elitären Haltung nicht unum- strittener) Kern der Pflege von Volks- und Tanzmusik in England gilt.
    [Show full text]
  • |||GET||| Folk Song Style and Culture 1St Edition
    FOLK SONG STYLE AND CULTURE 1ST EDITION DOWNLOAD FREE Alan Lomax | 9781351519670 | | | | | How Is Folk Music Different from Country? Folklore genres, types, and subtypes. The s saw the beginnings of larger scale themes, commonalities, themes and linkages in folk music developing in the populace and practitioners as well, often related to the Great Depression. He learned how to fight well and chant a few magic spells. French classical composers, from Bizet to Ravelalso drew upon Spanish themes, and distinctive Spanish genres became universally recognized. Music Samples Alexander Vertinsky - Snilsya mne sad. Folklore: Overview. These are popular in Nanjing and Hangzhouas well as elsewhere along the southern Yangtze area. However, absence of academic music Folk Song Style and Culture 1st edition did not prevent composers of the early 19th century from creating masterpieces. More information about this seller Contact this seller 9. He became so popular and influential that he managed to get his own U. Buy Russian Souvenirs. Celtic music is a term used by artists, record companies, music stores and music magazines to describe a broad grouping of musical genres that evolved out of the folk musical traditions of the Celtic peoples. About this Item: Condition: New. This type of folk music also includes fusion genres such as folk rockfolk metaland others. Patty Griffin is a songwriter's songwriter and has become highly respected across all musical genres for her numerous compositions. Actions Shares. This is often by the young, often in the traditional music of their own country, and often included new incorporation of social awareness, causes, and evolutions of new music in the same style.
    [Show full text]
  • Klaus Karl Und Die Entwicklung Der Melodiegitarre in Der Volksmusik
    Hubert Eberl Matr.Nr.: 10BU098 Klaus Karl und die Entwicklung der Melodiegitarre in der Volksmusik Master-Arbeit Zur Erlangung des Akademischen Grades Master of Arts des Studiums Konzertfach Master Gitarre an der Anton Bruckner Privatuniversität Linz Betreut durch: Prof. Wolfgang Jungwirth O.Univ.Prof. Dr. Peter Maria Krakauer Telfes, Sept. 2014 Inhaltsverzeichnis Vorwort ............................................................................................................................... 1 1. Die geschichtliche Entwicklung der Melodiegitarre in der Volksmusik 1.1. Einleitung ..................................................................................................................... 2 1.2. Bis 1900 ........................................................................................................................ 2 1.3. 20. Jahrhundert ............................................................................................................. 5 2. Tobi Reiser 2.1. Einleitung ................................................................................................................... 11 2.2. Leben .......................................................................................................................... 12 2.3. Tobi Reiser und die Gitarre ........................................................................................ 12 3. Sepp Karl 3.1. Einleitung ................................................................................................................... 15 3.2. Leben .........................................................................................................................
    [Show full text]
  • Dissertation Committee for Michael James Schmidt Certifies That This Is the Approved Version of the Following Dissertation
    Copyright by Michael James Schmidt 2014 The Dissertation Committee for Michael James Schmidt certifies that this is the approved version of the following dissertation: The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany Committee: David F. Crew, Supervisor Judith Coffin Sabine Hake Tracie Matysik Karl H. Miller The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany by Michael James Schmidt, B.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2014 To my family: Mom, Dad, Paul, and Lindsey Acknowledgements I would like to thank, above all, my advisor David Crew for his intellectual guidance, his encouragement, and his personal support throughout the long, rewarding process that culminated in this dissertation. It has been an immense privilege to study under David and his thoughtful, open, and rigorous approach has fundamentally shaped the way I think about history. I would also like to Judith Coffin, who has been patiently mentored me since I was a hapless undergraduate. Judy’s ideas and suggestions have constantly opened up new ways of thinking for me and her elegance as a writer will be something to which I will always aspire. I would like to express my appreciation to Karl Hagstrom Miller, who has poignantly altered the way I listen to and encounter music since the first time he shared the recordings of Ellington’s Blanton-Webster band with me when I was 20 years old.
    [Show full text]
  • Trollfågeln the Magic Bird
    EMILIA AMPER Trollfågeln The Magic Bird BIS-2013 2013_f-b.indd 1 2012-10-02 11.28 Trollfågeln 1. Till Maria 5'00 2. G-mollpolska efter Anders Gustaf Jernberg 3'25 3. Ut i mörka natten 4'55 4. Isadoras land 3'50 5. Trollfuglen 2'25 6. Polska fra Hoffsmyran 4'02 7. Herr Lager och skön fager 3'08 8. Brännvinslåt från Torsås 2'40 9. Pigopolskan / Den glömda polskan 5'08 10. När som flickorna de gifta sig 4'05 11. Kapad 4'44 12. Bredals Näckapolska 3'01 13. Galatea Creek 3'19 14. Vals från Valsebo 8'56 TT: 59'42 Emilia Amper nyckelharpa, sång Johan Hedin nyckelharpa Anders Löfberg cello Dan Svensson slagverk, gitarr, sång Olle Linder slagverk, gitarr Helge Andreas Norbakken slagverk Stråkar ur TrondheimSolistene: Johannes Rusten och Daniel Turcina violin Frøydis Tøsse viola, Marit Aspaas cello Rolf Hoff Baltzersen kontrabas 2 Trollfågeln innehåller 14 spår som på många sätt illustrerar mig som person och mitt liv som musiker och kompositör. Här är musiken som jag brinner för, en brokig skara låtar där traditionella svenska polskor möter nykomponerad musik inspirerad av andra länders folk- musik, och av pop, rock och kammarmusik. Jag spelar och sjunger solo eller tillsammans med goda vänner från både folkmusik och klassiskt. Som 10-åring förälskade jag mig i nyckelharpan vid första ögonkastet! Barndomens direkta glädje av instrument och melodier övergick efterhand i ett växande intresse för folkmusiken som genre. Jag mötte musik och människor från hela världen, och för mig var det liksom samma språk vi alla talade, ett språk där kopplingen mellan musik och dans är direkt och självklar.
    [Show full text]
  • Max Peter Baumann
    Max Peter Baumann TRADITIONSZUSAMMENHANG UND REPERTOIRE IN DER VOLKSMUSIK AUS FRANKEN Wie in ganz Deutschland, so war auch in Franken nach dem 2. Weltkrieg eine merkliche Zasur 1m Bereich der Uberlieferung von Volkslied, -musik und -tanz zu verzeichnen. Das "Wo man singet, laß dich ruhig nieder" war nach oem Zusammenbruch problematisch geworden und mündete in den 60er Jahren 1n d1e von Franz Josef Degennardt kritisch gestellte Frage: "Wo s1nd unsere Lieder, unsere alten Lieder?". Er selbst stellte in po1nt1erter Scharfe fest: "Tot s1nd unsere Lieder/unsere alten Lieder/ Lehrer naben s1e zerblssen/Kurzoehoste sie verklampft/Braune Horden 1 totgescnr 1en ISt 1ef e l 1 n den Dreck gestampft" ). In pragnanter Fonr wird m1t wen1gen Zeilen der gesellschaftspolitische Mißbrauch von ued und M.JsiK kritiSiert: Das pädagogisch-ideologisch- beschonigte Nat1onall1ed des 19. Jahrhunderts, das Fahrtenlied der Wandervogel-Bewegung und schließlich das HJ- und Kampflied der Naz1zeit. Die überlieferten Inhalte und Formen wurden probiematisJert, n1cht zuletzt durch e1ne Junge Generation, die vorausgehend die Erfahrung mit dem kritischen anglo-amerikanischen Folksong gemacht hatte. In den ersten Liederbuchern wurde nach dem Kriege zwar teilweise noch auf das Erbe der Fahrten! Jeder zurückgegriffen, doch ergab sich seit den 50er Jahren unter dem Einfluß des Europagedankens mehr und mehr e1ne Offnung zu dem europa1schen Lied hin, nachdem das Bemühen, neue Jugendlieder zu schaffen, erfolglos war. Leitbild wurde der Gedanke, endlich 1m Lied von der "Volksgemeinschaft" weg zur "Völkergemeinschaft" h 1nzukommen. 1srae 11 sehe, osteu ropa 1sehe, f ranzös 1 sehe, irisehe LIeder und amerJkanJsche Folksongs und Spirituals waren gefragt und wurden in den Dienst einer Internationalen Verständigung genommen 2).
    [Show full text]
  • Die Fabrikation Globaler Vielfalt: Struktur Und Logik Der Transnationalen Popmusikindustrie Gebesmair, Andreas
    www.ssoar.info Die Fabrikation globaler Vielfalt: Struktur und Logik der transnationalen Popmusikindustrie Gebesmair, Andreas Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: transcript Verlag Empfohlene Zitierung / Suggested Citation: Gebesmair, A. (2008). Die Fabrikation globaler Vielfalt: Struktur und Logik der transnationalen Popmusikindustrie. (texte zur populären musik, 5). Bielefeld: transcript Verlag. https://doi.org/10.14361/9783839408506 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/3.0 https://creativecommons.org/licenses/by-nc-nd/3.0/deed.de Diese Version ist zitierbar unter / This version is citable under: https://nbn-resolving.org/urn:nbn:de:0168-ssoar-67496-9 Andreas Gebesmair Die Fabrikation globaler Vielfalt texte zur populären musik 5 Herausgegeben von Winfried Pape und Mechthild von Schoenebeck Andreas Gebesmair (Dr. phil.) leitet das Institut Mediacult und lehrt Medien- und Kultursoziologie in Linz und Wien. Im Zentrum seiner For- schung stehen die Strukturen der Produktion und Rezeption von Kultur. Andreas Gebesmair Die Fabrikation globaler Vielfalt. Struktur und Logik der transnationalen Popmusikindustrie Für Bettina Die Arbeit wurde durch ein Stipendium im Rahmen des Austrian Programme for Advanced Research and Technology (APART) der Österreichischen Akademie der Wissenschaften ermöglicht. Gedruckt mit Unterstützung des Bundesministeriums für Wissenschaft und Forschung in Wien. Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar.
    [Show full text]
  • Krautrock and the West German Counterculture
    “Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre.
    [Show full text]
  • Folk Music Research in Austria and Germany. Notes on Terminology, Interdisciplinarity and the Early History of Volksmusikforschu
    Folk Music Research in Austria and Germany: Notes on Terminology, Interdisciplinarity and the Early History of Volksmusikforschung and Vergleichende Musikwissenschaft Ulrich Morgenstern All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 07/04/2015 Accepted: 14/07/2015 Published: 25/09/2015 Last updated: 25/09/2015 How to cite: Ulrich Morgenstern, “Folk Music Research in Austria and Germany: Notes on Terminology, Interdisciplinarity and the Early History of Volksmusikforschung and Vergleichende Musikwissenschaft,” Musicologica Austriaca: Journal for Austrian Music Studies (September 25, 2015) Abstract Discussing controversial issues of Volksmusikforschung in Austria and Germany, the article focuses on European folk music research, with its theory, method, and terminology, in a historical and interdisciplinary perspective. Drawing basically on scholarly traditions of the German- speaking countries and Russia, it shows that key issues of comparative musicology and ethnomusicology (anthropology of music), such as music in culture, participatory observation, function-based genre concepts, and comparative research, were developed in the study of European folk music starting in the late 18th century. The folk music discourse contains two basic trends: (1) folk music as a subject of scholarship (from the Enlightenment to 19th century realism), (2) the folk song as an object of idealization (pre-romantic and romantic period). Against the background of the intellectual history of folk music research, the article enters debates on (a) folk music and ideology (nationalism, social romanticism), (b) Volksmusikforschung in Austria before and after 1918, (c) folk music and popular music as different but interlinked fields of research, and (d) issues of homogeneity. [1] A discussion on terminological issues ofVolksmusikforschung is hardly possible without considering the history of folk music research and related fields, such as comparative musicology, ethnomusicology, and folkloristics.
    [Show full text]
  • Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
    Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project.
    [Show full text]
  • Resonances of Swissness in Switzerland's Streichmusik
    Resonances of Swissness in Switzerland’s Streichmusik Andrea Lieberherr Douglass1 University of Massachusetts Boston Abstract:This article investigates the current resurgence of folk music in Switzerland using the localized practice of Streichmusik (string music originating in the adjoining Appenzell and Toggenburg regions in northeast Switzerland) as an example. I examine the relationship between Streichmusik and Swissness, a concept used in marketing Swiss products and culture. Swissness highlights contemporary Swiss national anxiety around shifting global, political, and economic dynamics as a rise in nationalism encourages identity politics. I argue that Streichmusik is a sonic resonance of Swissness and has been valorized both locally and nationally through the notion of Heimat (homeland) and the trope of nostalgia. Keywords: Switzerland; traditional music; folk music; Swiss national identity; nostalgia; Heimat (homeland); music and politics ** The video of Swiss rapper Bligg’s (a.k.a. Marco Bliggensdorfer’s)1 hit single from 2007, “Volksmusigg,” was produced in collaboration with the folkloric ensemble, Streichmusik Alder. The chorus states, in Swiss-German: ‘Das isch Musig, Volksmusigg, mir sind Stolzmusig’ (‘This is music, folk music, we are proud music’). Then Streichmusik Alder plays ‘Birre, Birre Wegge, Chäs ond Brot’ (‘Pear, pear pastry, cheese and bread’), arguably the most famous and often played Streichmusik piece, sometimes described as a national anthem of the Appenzell, the region in northeast Switzerland where Streichmusik (literally translated as “string music”) originates. A prominent feature of the television performance is bassist Ueli Alder (1922 −2014), in his late eighties at the time and a distinguished figure in Streichmusik.2 In the televised performance, Bligg seems pleased to be sharing the stage with Streichmusik Alder, the most iconic Streichmusik group in Switzerland.
    [Show full text]